A celebration of the duo's music, Woman Worldwide rewards fans who want to delve into its musical connections as well as those who want to get lost in its momentum.

To the Sunset isn't splashy: it's handsome and layered, alluring upon the first impression but revelatory upon revisits.

Twenty-five years after their debut, they still retain that power, while finding ways to surprise within their firmly defined style.

Double Negative is a brave and thoughtful collection of songs that lets Low's beating heart scream for its life against a world without compassion, and if it isn't much fun, in 2018 it's truly necessary.

Book of Bad Decisions is an excellent late-era entry into the band's vast catalog, a natural product of their enduring chemistry and dedication to their legion of fans.

Under the guidance of Lee's gentle melodies and calming voice, all the songs mesh together, though, only slightly shifting, like an afternoon under a late-summer sun.

America's Child doesn't simply address the tumult in 2018 America, it stands as a vital statement of purpose from a modern blues singer who is beginning to hit her stride.

Redemption resonates because it's simultaneously Bonamassa's most ambitious album and his most impassioned record.

On Dark Horses is a far more collaborative affair, and while it still looks inward, it does so with the kind of steely warmth that can only come from somebody who has seen the light at the end of the tunnel as clearly as they've seen the oncoming train.

As wacky as their previous efforts but driven by a greater purpose, Twisted Crystal finds Guerilla Toss hitting a new high.

It's a solid debut, both in terms of its songwriting and textures, with no "for an actress" qualifier warranted.

While Emanon's suite may take some getting used to, it is a profoundly imaginative work; the quartet concert offers a killer portrait a group whose M.O. is pushing at the margins until they give way to something altogether new.

Figuring out the why of Returns to Valley of Rain is probably fruitless, but if Gelb wants to move forward into the past with Giant Sand, at least he's doing so with style and swagger.

It's a great combination of sound and songs that makes good on the promise the band showed on their debut, and shows them navigating the numerous pitfalls of growing up as a band in fine fashion.

50 years on from Fairport Convention's debut LP, 13 Rivers is striking music from a musician who remains fresh, contemporary, and peerless.

All the strings and brass not only accentuate the songs, highlighting the jazzy changes of "Soul Searchers" or the light swing of "Gravity," they help frame this measured song cycle, directing attention to how Weller isn't wallowing, he's meditating upon love, loss, and hope as he enters his sixties.

While these songs offer resistance to a particular reference point, as a whole the work is transcendent. Some of Ribot's own songs are fine enough to warrant inclusion next to the classics he adapts.

With The Crossing, Escovedo had put a new and compelling spin on the oft-told tale of the American dream as seen both from a distance and up close. In his hands, this story is both timeless and as up to date as the latest news bulletin, and it connects as great music and outstanding storytelling delivered by an artist who has a unique talent for both.

Generation Rx can feel a little bit deliberate: it may be little more than half an hour but it feels a bit longer, because the tempos are moderate and the melodies studiously avoid effervescence. All the same, Generation Rx winds up showing a way forward for Good Charlotte.

Underwood is taking risks for the first time. Nearly all of them pay off. ... The result is an album as satisfying as it is surprising.

Collapse ends up being one of Aphex's stronger post-2000 releases.

For Ever's complex blend of bare emotions and gorgeous production makes it a huge step forward for Jungle. A band this successful could have left their private lives uninvestigated and turned in something more guarded and rote, but the palpable honesty of these songs is what makes them soar.

Monsters Exist retains several hallmarks of the classic Orbital sound, but it isn't an album for '90s rave nostalgia purists pining for another "Belfast" or "Halcyon." Instead, it continues their tradition of making forward-thinking albums which reflect the present but glance excitedly, cautiously, and fearlessly into the future.

Kravitz knows how to sculpt not just sounds but a cohesive LP, and that kind of pro assurance when combined with his earnest hippie beliefs, make Raise Vibration a sunny, affirming listen.

The thing that Kurstin brings to the table is a refinement, letting Paul's ideas shine incandescently while also revealing that a record this clever isn't tossed off, it's crafted in every respect.

The album's glitchy title track is sparse yet acutely detailed, and sinister without seeming too evil-minded. Like the rest of the album, it seems curious about the dark side rather than fully possessed.

A relentless return to form, This Behavior finds Adult. at their most forceful and consistent as they enter their third decade.

The Bones do let loose on songs like the disco jam "Got It Bad" and "LivWithOutU," a grooving, straightforward love song. Taken as a whole, though, Young Sick Camellia feels almost like a concept album, one framed by and rooted in a confrontational contemporary reality.